In Love Your Mother – The Great Ape Project

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As well as holding gripping and inventive sounds, a song and release should be an adventure for ears and imagination to make the strongest connection, and they do not come more of a creative and challenging emprise than The Great Ape Project from Swizz trio In Love Your Mother. The album is a riveting and invigorating maelstrom of sound and deranged invention which leaves no stone unturned or bedlamic idea left in the shadows. Cramming eighteen songs in just over thirty minutes of creative mayhem means the album warrants and needs full attention so as not to miss any of the exhilarating drama within tracks which range from fourteen seconds to just short of four minutes in length. But the rewards are unrelenting and furiously imposing in one of the albums of the year.

Hailing from Zürich, the trio of guitarist/vocalist Valentin Baumgartner, bassist/vocalist Amedeo Mauriello, and drummer Andrea Tinner, unleash a sound which reaps the essences of mathcore and progressive metal and filters it through a vat of avant-garde, grindcore, and metalcore ingenuity. It comes out as a sound which can be best described as The Dillinger Escape Plan and System of a Down meets Destrage, Toumaï, and Kontrust yet isn’t like that either. It is a unique concoction which flirts and dances with senses as it brutalises them, and quite irresistible.

Themed by the sick and bad world our mothers warned us of, In Love Your Mother start the album and examination with The Mother Song. A thirty second tsunami of vocal causticity and rhythmic hostility speared by a sonic spite and toxic groove which all combines for a furious and concussive but appetite inflaming onslaught. Its swift assault is followed by the less intensive but no more lightweight 2116@#1916. It is immediately contagious, something alone impressive such its brevity of length, a slice of coarsely melodic and respectfully corrosive groove metal which slips agreeably before the vicious presence of We’re Gonna Dance Till Everyone Is Naked And Fallen Apart takes over. A metalcore canvas of vocals and maliciousness is soon twisted and bound in a weave of unpredictable and schizophrenic invention, the guitar of Baumgartner scything and spearing the heart of the tempest with breath-taking and psyche addling ingenuity. It is a manic endeavour matched by the swinging arms and prods of Tinner and the throaty creative predation of Mauriello. The longest song on the album, it explores and evolves with every second, bewitching and bewildering ears with almost hostile intent. The beauty of this and all songs, is the seamless and fluid transitions, one moment a bestial rampancy becomes a seductive croon and melodic embrace in another, all without a twitch of uncertainty or flex of ILYM_TGAP_albumcoverrandomness.

Johnny Rocket Is Not Dead launches its majestic uncompromising tirade next, grooves and bass temptation as eager and impacting as the vocal squalls and twisted sonic probing aligning to a rhythmic badgering. It is only one turn in the fifty second odd track though, as mentioned earlier every chord and jab of drums the detour to new and generally enthralling bliss, as evidenced no more potently than in Signs Of A Medium Life which splits the two parts of the title track. A hardcore/grind fuelled provocation, the track savages and pounds on the senses from the off. Riffs and beats show no mercy within the stalking gait of the song nor the blistering vocal roar which also has some restraint in its confrontation. Through the storm though, there are small and larger slithers of inventive majesty which enthral as much as the bruising thrust of the song.

The two bits of The Great Ape Project grab the hunger inspired already by band and album, but are swiftly surpassed by the brilliance of the also two parted Wish Me An Ocean, the first of its two scintillating movements a furnace of sonic fire and blistering psychotic beauty steered superbly by bass and drums. From the hasty senses foraging of its counterpart and the haunting piano sculpted drama of Drop The Back Of The Line, In Love Your Mother ignite another major blaze with Signs Of A Real Life. Striding forcibly with rhythmic and sonic nostrils flaring, the track soon slips into something more cantankerous and intimidating, crawling over senses and thoughts with a rabid breath and bestial intensity. It is just one border of the landscape though, an exotic melodic insanity blooming before a final fury emerges.

Through the thrillingly deranged, slightly post punk/noise rock spiced The Disco Fish, the melodically searing and perfectly crazed Inhale, and the restful and emotionally unbalanced Wish Me An Ocean Part 0, the album continues to engross and disorientate. But it is all just an appetiser for the pinnacle of the album, which is the song In Love Your Mother. With its first touch, a ridiculously addictive groove which only intensifies its lure as it is joined by rampant beats and a pleasingly varied vocal persuasion, the track is pure sonic and inventive alchemy. Demanding and infectious, imposing and wantonly accessible, it is a bargain for the soul made of the devil, a term which applies to the whole of the album.

The Hedgehog is more pure in its assault, its extreme metal rabidity direct and untethered yet still veined by a sonic enterprise to spellbind ears and thoughts. Its potent success is emulated by the inhospitable but irrepressibly catchy Ein Hase, Zwei Haese. With a swagger which only inflames its savagery and warped ingenuity equally, the track is a twisted mouth-watering blaze of unpredictability and extreme metal maliciousness to linger over.

Closed by the lo-fi folk croon of a track simply called Outro, The Great Ape Project is a sensational introduction to a band with the potential and invention to turn metal on its head at any time. The release is one of the real triumphs of the year and deserves the fullest of attention.

The Great Ape Project is available now @ http://www.cduniverse.com/productinfo.asp?pid=9357440

http://www.inloveyourmother.com

RingMaster 10/10/2014

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A Breach of Silence – The Darkest Road

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Though the tightness of its grip fluctuates across its fourteen roars, The Darkest Road is a creative fury easy to breed a greedy appetite for. Unleashed by Australian metallers A Breach of Silence, it is a tempestuous slab of varied styles and flavours which has been labelled as “powercore”. Melding the potent flavours of metalcore through to post hardcore, heavy metal on to melodic death metal, and we are missing out many more spices, it is a compelling proposition which never gives ears and imagination time to settle or spawn expectations.

The Darkest Road follows the successful and acclaimed debut album Dead or Alive which was released a year ago. With having Australia’s prestigious Q Music Award in the Best Heavy Song category (2012) under their belt, which helped lead the band to signing with Eclipse Records, their first full-length pushed A Breach Of Silence into a new intensive and global spotlight, backed potently by the band’s live presence which has seen them share stages with the likes of Born of Osiris, Adept, The Amity Affliction, and Upon a Burning Body. Earlier this year the band released their controversial Night Rider ‘first-person shooter’ music video which took inspiration from their obsession with FPS video games and 1960’s classic westerns such as Hang ‘em High and The Good, the Bad, and the Ugly. Now The Darkest Road is upon us to stir up ears and thoughts whilst making another impressive step in the ascent of the Brisbane quintet.

Recorded with producers Fredrik Nordstrom and Henrik Udd (Bring Me the Horizon, Arch Enemy, In Flames), The Darkest Road as suggested ebbs and follows in the strength of its certainly unrelenting captivation, sometimes throwing a spanner in the works of getting a handle on songs and the release, but it only adds to the welcome and inventive unpredictability and constantly intriguing nature of the encounter. The album certainly starts with furious gusto and anthemic irresistibility, opener T.P.N.E shoving group shouts through ears before wiry grooves and heavy rumbling rhythms join the emerging storm. The raw and caustic vocal squalls of Rhys Flannery swiftly more in with antagonistic and skilled intent which in turn seems to light a fire in the creative swings of drummer Andrew Cotterell and the similarly vivacious motion of the grooves conjured up by Mat Cosgrove and Kerrod Dabelstein. It is a gripping and incendiary blend which is capped off by the throaty lure of bassist Blair Layt and more so by his outstanding clean vocal delivery. The song offers richly flavoursome and agitated metal of the highest order and an inescapable lure into the creative lair of A Breach of Silence, an entrance backed powerfully by the following title track.

The second song caresses ears with the impressive tones of Layt right away, evocative keys coaxing the invitation before riffs and acidic grooves erupt to trap and steal the passions all over again. As its predecessor, the track is a formidable Printencounter which is unafraid to bewitch and bewilder, seduce and rile, with a unique character seeded in the likes of All That Remains and In Flames. Its stature and temptation is matched by Vultures which strides confidently in next. Another certain anthem with its group calls and raging rhythmic confrontation, the song blazes sonically and vocally from the start, the extremes of voices a perfect union within the similarly blended canvas of predatory and melodically smouldering sounds.

Through the intensive yet warming examination of Silhouette, as the others songs upon The Darkest Road, a hope rich and potent roar against life’s obstacles, the band reveals more of their technical and imagination driven resourcefulness. A scent of Bullet For My Valentine hints throughout the evolving and inventive offering before Hang ‘em High sets its own individual fire within the release. Riffs and rhythms spew anger with their intensive and physical intent whilst Flannery almost brawls with ears through his uncompromising and pleasing vocal antagonism. It is a potent and engrossing song if without the spark of those before it, a comment which can be placed before In Reality We Trust also, though as always with the album it is mostly down to personal taste. The song storms and bleeds spite over the senses with skill and enterprise but it is mainly the vocals from both men which steal the plaudits.

From here the album does not have an identity crisis but definitely wrong-foots with persistence. Though all the tracks so far employed a diverse and varied spicing, they were bred from a fierce extreme metal canvas. The excellent Lost at Sea brings a new bloom of sound, immediately expelling a ‘folkish’ tinge to its air as well as a glorious melodic croon across its potent harmonies and sonic narrative. It is a loud whisper of something different in some ways but helps seed a new hostile and captivating breath to the album, and makes for an enthrallingly textured and majestic slice of persuasion.

   This is the End comes next and instantly spins an engaging sonic and rhythmic web around ears. It is a contagiously compelling weave, guitars and bass a simultaneously welcoming and menacing enticement over which the vocals merge hostile and catchy elements with a classic metal spiced attack. Every chord and rhythmic swipe brings a surprise and unexpected twist, the song emerging as another pinnacle and treat for the album, something Immortal is not. To be fair again it is just a personal thing but its heavy/power metal balladry complete with the genre’s trademark vocals warbles and squeals, just does not find a welcome in these ears though it is easy to hear its qualities and know it will be a favourite with classic metal fans. The song is another unique identity within the character of the album, though to call The Darkest Road schizophrenic would be going too far.

The excellent Hannibal is more from the template of earlier songs, its metalcore voracity and melodic tenacity an infectious and voracious treat which parts for the even heavier and harsher A Place I Know. The song also expels fiery melodic endeavour, again with a more classic spicing, before exploring slimmer post hardcore scenery punctuated with probably the most intensive beats and riffs on the album. It is a song which sets a fire in the belly at times but also lowers its temperature in others, but for intrigue and bold invention it is another notable moment.

Dead and Destroyed is simply brutal, a wall of angst and viciousness which still makes room for vocal croons whilst Krazy Bitch seems to pull in all the things which excites and personally frustrates in the album for a still rather pleasing encounter. The pair leaves the piano and voice sculpted ballad Time Still Remains to close the album, the song a more than decent piece of melodic metal but easy to skip by to get back to the pungent heights the album started on all over again.

The Darkest Road is a striking release, with to be honest any issues found coming from just the individual likes and dislikes we all have in our metal. It is easy to see A Breach of Silence becoming a big player in world metal if this thrilling tempest is anything to go by.

The Darkest Road is available now on Eclipse Records @ http://www.eclipserecords.biz/a-breach-of-silence-the-darkest-road-cd/

https://www.facebook.com/abreachofsilenceband

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

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The Body Politic – Egressor

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As sonically savage as it is melodically radiant, Egressor provides one sizeable tempest of aggression, passion, and technical invention which thrusts Canadian progressive metallers The Body Politic into a whole new spotlight. The EP is a furious yet seductive storm which is as accomplished and gripping in its senses ravaging enterprise as it is in its rich croon of melodic and harmonic endeavour. The six track encounter provides a blistering fascination and unpredictable adventure which took a short while to reveal all its glories but emerged as another of the rigorously compelling events of the year.

Coming out of Vancouver Island and taking their name from the Clive Barker short story, The Body Politic made an attention grabbing mark with their well-received debut album All Too Human in 2011. Their sound entangles the nuances and freedom of jazz, which most members of the band studied at Vancouver Island University, with the colourful exploration of progressive metal and the predatory voracity of metalcore. It is a striking blend, skilfully twisted into an imagination binding storm as evidenced by Egressor. Following a period which has seen the band undertake several Canadian tours and share stages with the likes of Tesseract, Protest The Hero, and Scale The Summit, the new EP suggests it holds the spark to wider recognition as it sets the band out from the crowd.

The release impresses in many aspects, the technical craft, explosive adventure to the songwriting, and the striking vocals of Sam Britton the most striking of these. Produced by Spencer Bowman, the release opens with Vitam Agere. It EP Cover - Body Politic - Egressor - 2014is a haunting instrumental piece, emotion spilling keys stroking ears as a sonic wind grazes the senses. The restrained entrance soon brews up a forcible and portentous coaxing as guitars and rhythms sculpt a climactic air which is still soaked in that initial haunted, almost apocalyptic texture. The track flows straight into Armature, the track an immediate onslaught of eventful and demanding rhythms aligned to scorching grooves and ragged riffs. Driven by the coarse scowls of bassist Jesse Janzen, his tones as aggressive as the metalcore spine of the track, the song swiftly reveals potent scenery of raw persuasion from the riffs of Matt Aasen and Dan Montgomery alongside the thumping beats of Spencer Bowman. This onslaught is tempered by the technical flair and imagination the guitarists also unleash and the exceptional clean vocals of Britton, his entrance the final piece in the jigsaw bringing the track alive. As soon realised every moment is just an instance in the journey of a song, the starter proceeding to steer ears and emotions through avenues of raucous passion and ingenious technical enterprise, all soaked in the emotive keys of Rob Wilkinson.

It is an imposing and impressing start but merely a taster of greater things to come, instantly shown by the following All Hands. Electro radiance sets the track off before a torrent of contagious jagged riffs and the brawling tones of Janzen erupt, their confrontation swiftly tempered and complimented by the smooth flow of Britton’s delivery. The song then twists into an enthralling schizophrenic dance of psychotic rhythms and similarly bred sonic imagination, both aspects flirting with and chewing on thoughts and senses respectively. It is a glorious turn in the song before it slips back into its melodic fire bound in hostile intent. The track is sensational, a constant flood of creative intrigue and bold invention unafraid to wrong-foot and confront the listener.

Swing For The Fences has the task of following the EP’s first highlight and does so with antagonistic gusto. Grooves and riffs climb over the psyche from the off before relaxing into a melodic embrace led by Britton’s refreshing tones. Keys and melodies wrap emotive arms around ears before the track combines its dark and light side for another absorbing flight of riveting imagination and honest passion. Both sides of the vocals impress but it is the guitars which push passions from ardour into a lust for the song, their almost cryptic invention as bewildering as it is bewitching and never allow senses and thoughts to settle and get a firm hold of the swirl of sonic acidity and bedlamic enterprise at the heart of the track.

In song and EP though, every part of the band combines to create spellbinding torrents of adventure and intent, keys and bass as vocal in their own way as the rhythmic and sonic character of tracks. Colqhoun instantly proves the point, the throaty lure of Janzen’s bass and the seducing presence of Wilkinson’s keys potent and expressive textures in the song’s exploration. Though not as dramatically gripping as its two predecessors, it casts a seriously rewarding and imagination provoking canvas coloured by raw metal and jazz rock hues, before making way for the closing Irradiate. The final track takes its initial crystalline melodies into a turbulent yet infectiously captivating furnace of adversarial angst and provocation, shadows and light hurling themselves around each other through the stunning skill and imagination of the band.

The track is a thrilling end to an outstanding release, one with the flesh and soul to push The Body Politic to the forefront of progressive metal.

The Egressor EP is available now digitally as a name your price download and on CD @ http://thebodypolitic.bandcamp.com/

http://www.thebodypolitic.ca/

RingMaster 17/09/2014

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Dioramic – Supra

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There is a clutch of bands with the imagination and mastery to combine mouth-watering beauty and voracious aggression in one heavily imposing proposition but few able to conjure the mesmeric seduction and creative ferocity as found on Supra, the new album from German metallers Dioramic. The bands third full-length release is an extraordinary exploration of light and dark textures, technical and feral ingenuity, and breath-taking invention. One of the most scintillating, awe inspiring encounters in recent years.

The quartet from Kaiserslautern is no strangers to making jaws drop in response to their craft and adventure, previous albums Phase Of Perplexity and Technicolor in 2004 and 2010 respectively, greedily received but Supra finds the band at a whole new plateau of sonic alchemy. The album was begun in 2011 but a line-up change due to drummer Anton Zaslavski’s success with his own Grammy award winning project Zedd, meaning he had little time to devote to Dioramic, halted the recording of the Supra. Paul Seidel (War From A Harlot’s Mouth, The Ocean) was recruited to take up the sticks in the band, with the album subsequently completed last year. Released via Pelagic Records, it now makes its stunning entrance into the world and is set to draw a new template for others to be inspired by through its multi genre embracing fury of progressive rock and metal.

Describing the sound of band and album is an on-going task as each track takes ears and emotions down a new richly flavoursome avenue in the general riveting landscape of the release. Imagine a mix of Muse, The Ocean, Between The Buried And Me, and Australian band Voyager and you get a glimpse of the invention of Dioramic. From its first moments Supra is gripping attention and imagination, the opening seconds of Xibalban a tempting lure which expands rapidly into a tempest of muscular intimidation from riffs and rhythms alongside a sumptuous beauty from vocals and expressive melodies. The track manages to cast a hazy warmth and radiance within a voracious wall of sound and intimidation, keeping both wrapped in a clarity which astounds and spellbinds. At times it is seeded in progressive metal, in others a metalcore rage, whilst throughout there is a melodic sun of enterprise and provocative intrigue, and we have not mentioned the thrash and groove metal twists which amongst many enter the bewitching narrative of the track.

The stunning start is straight away matched by the slightly more merciful but no less gripping Carpets On The Walls. It opens with a gentle melodic caress which in no time turns into Meshuggah like voracity and technical emprise clad Bildschirmfoto 2014-07-20 um 21.16.10in whispers of theatrical drama and sublime imagination. It is a riveting start which evolves into a glorious melodic soar of vocals from guitarist Arkadi Zaslavski and sonic endeavour from him and fellow string exploiter Alexander Mauch, the encounter taking ears on yet another unexpected and unpredictable flight.

Two tracks in and the release is a breath-taking encounter, one not prepared to take its foot off the pedal of creative tenacity as shown by the following The Calm Before and The Storm. The first as suspected from its title is a gentler glide than its predecessors, a restrained glaze of melody enriched vocals within a portentous atmosphere. In that provocative temptation though, the track explodes into climactic and turbulent roars which stirs up the hostility in rhythms and senses searing riffs, not forgetting the gloriously carnivorous tone of Max Nicklas’ bass, before relaxing back into the ambient poetry of the song’s breath. It is a bewitching encounter setting up its successor perfectly, though the following track does not quite go for the jugular musically as expected. Vocally though it is initially an uncompromising fury, antagonistic squalls prowling the psyche as stabbing riffs and fiercely imposing rhythms set a commanding cage. Opposites and extremes again toy with ears and thoughts, a sublime wash of vocal harmonies and melodic elegance finding their potent place in the tempest.

Even greater heights are breached by Worth and Big Pump, each a new torrent of technical vivacity and passion igniting invention. From its opening breath, the first of the two breeds a blistering contagion to soak ears and emotions, expressive clean vocals aligned to deeply gripping hooks and rhythms binding ears in their infectious suasion. Zaslavski finds a Matt Bellamy like presence to his voice which is supported just as magnetically by the tones of the rest of the band within the cradle of spikey riffs and radiant melodies. Muse meets Palms with Periphery looking on; it is a sublime piece of songwriting and its sultry realisation, matched by the more predatory second of the two. Riffs snarl and challenge from the first swipe of similarly aggressive rhythms, their bordering on hostile presence taken into rawer confrontation by the aggression driven vocals. The track proceeds to roar and seduce the senses, the intricate spirals of sonic endeavour and rhythmic agitation a fascinating and thrilling canvas for the corrosive vocals to bellow from. As expected the track evolves and twists before ears for yet one more absorbing and exhilarating provocation.

Melancholia offers exactly what is says on the tin, its evocative coaxing covered in emotive shadows and vocal elegance as keys spread their equally passion washed narrative. It is an engrossing basking for senses and thoughts before the inventive maelstrom of Logbook comes in, once more vocal harmonies and melodic flames encased in rugged rhythmic walls and scarring riffery for an astonishing drama fuelled emprise.

The album ends with Vortex Reflex, a further smouldering immersion into the vocal mellowness and irresistible melodic charm which seduces across the whole album, within the rhythmic ingenuity and sonic fire which equally makes Supra one of the pinnacles of the year. The album is quite simply an illustrious encounter with Dioramic setting new plateaus for others to aspire to.

Supra is available through Pelagic Records now digitally, on limited coloured vinyl edition, and CD which comes with an extra DVD with live material, studio reports and interviews @ http://pelagic-records.com/cds/

https://www.facebook.com/dioramic  

10/10

RingMaster 15/09/2014

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Alone With Wolves – The End of Nothing EP

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Fusing an impressive and striking fusion of heavy rock with a voracious metal intensity, UK band Alone With Wolves has a sound which sits easily within the varied shades of metalcore and post-hardcore as well as quite simply rock and metal. The proof is in the band’s new The End of Nothing EP, a five track collision of flavours which combine for a passion drenched and thoroughly captivating tempest of sound and emotion. The band on the evidence of their impressive second release, fuse the strongest essences of those previously mentioned styles into something which has a familiarity to its angst and presentation but an individual freshness which sets the Hertfordshire sextet apart from most of the crowd.

Formed in 2011, Alone With Wolves were swiftly into a charge of shows across the South of the UK, including sharing stages with the likes of Hildamay and Mallory Knox. The band was soon recruiting a passionate fan base and following, which their self-titled EP of 2012 only reinforced and pushed on. Their sound is simultaneously melodic and ferocious, as mentioned combining a varied weave of flavours inspiring comparisons to bands such as Alterbridge, Architects, 30 Seconds to Mars, and Deaf Havana. Alone With Wolves has certainly been brewing up potent attention to date which the new EP has the potential and power to take to a nationwide spotlight.

It launches itself with a sonic enticement as Cutting Ties sizes up ears before expanding into an imposing but inviting mix of raw riffs and melodic enterprise driven by sinew swinging rhythms and a great throaty bass sound. It is not a 13606_925710967443706_5848660365238708299_ndramatic but certainly appetite awakening start which the combined persuasion of vocal roars from guitarist Lewis Watson and the clean magnetic melodic tones of Danilo Fiocco are soon colouring with emotion. The track is as antagonistic as it is enticing, two sides merging for a fiercely potent and adventurous blaze of sound which ebbs and flows in its rage and intensity. It never settles into a less than voracious stance though, the rhythms of drummer James Noble and bassist Mark Stanford fuelling a creative hostility whilst guitarists Watson and Kieron Baker craft an enthralling narrative of riffs and melodic endeavour.

The strong start is followed by the raw opening brawl of the title track which is soon sharing the suasion of a great contagious and melodic weave aligned to Fiocco’s impressive delivery backed by Stanford and rivalled by the squalling tones of Watson. The song is an appetising encounter which feeds expectations at first but a sudden shift into rugged metal territory and subsequently a seductive flight of expressive melodies soon has intrigue and unpredictability as vocal as the passion and enterprise drenching the track.

My Life In Your Hands has a more metalcore cored explosiveness to its presence but again the at times almost duelling vocals and emotive ideation of guitars takes the song to a powerfully satisfying adventure. The least dramatic of all the tracks, it still potently feeds an open hunger inspired by its predecessors, the invention of Baker impressing especially, before the outstanding enticement of The Change takes over. A more tempered and melodic hug from the start but with a sturdy intent to the muscular rhythms framing the impassioned drive of the expressive hues and vocals, the song croons with an intimacy which is arguably less open in other tracks. It is no lightweight though, jagged riffs and thumping beats a demanding proposition caging the raw beauty within. With only the fade out of a quite climactic finale annoying, it is the biggest highlight of the encounter.

The closing With You In Mind is an intensively imposing onslaught of rhythmic provocation and senses bruising aggressiveness which still embraces a mouth-watering flame of sonic and melodic invention. It is as mesmeric as it is challenging and an enthralling tempest of invention and passion to bring The End of Nothing to a climactic conclusion.

It is fair to say that The End of Nothing EP did not ignite a raging fire in the belly for it but it is one of the most invigorating metalcore/post hardcore releases this year and the spark to a real hunger to hear more from a band with a very healthy future ahead.

The End of Nothing EP is available from September 1st and available through all good digital outlets.

https://www.facebook.com/alonewithwolves

http://awwofficial.bandcamp.com/

8.5/10

RingMaster 31/08/2014

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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From Her Eyes – Demons

From Her Eyes Online Promo Shot

From Her Eyes may be young in age, its members just slipping out of their teens, but there is a maturity to their sound which instantly impresses as it belies their youth and ensures the Welsh metalcore band is a thoroughly captivating proposition. The release of their debut EP Demons reinforces an already keen buzz for the band whilst taking their presence to a national level to, it is easy to expect, similarly eager but ultimately wider attention growing up around them.

Formed in 2012, the Bridgend consists of school friends Tom Owen (vocals), James Kearle (guitar), Jesse Simmonds (bass) and Gary Holley (drums). From Her Eyes since day one has been a rigorously active proposition, sharing stages with the likes of One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break, and Reaper in Sicily amongst hordes of shows before settling down to create their first release. That saw the band linking up with Jonny Renshaw (Devil Sold His Soul) at Bandit Studios to record Demons with the resulting EP a compelling and gripping slice of voracious angst fuelled metal.

The EP opens up with brief instrumental Decay, a haunting piece with elegant guitar craft coaxing ears and imagination within a brooding air of portentous persuasion. More subtle than dramatic and beautifully crafted, the track is a From Her Eyes Cover Artworkmagnet into the release and the following Comatose. From its first breath the vocal delivery and narrative of Owen is an impassioned presence which roars within an immediately enticing web of sonic and rhythmic enterprise. There is ruggedness to the beats of Holley and riffs of Kearle whilst Simmonds unveils a heavy throated lure from his bass which only adds to the weight and presence of the track. To that muscular intent though the acidic melodies and sonic weaving brings a vibrant colour and strained charm which exposes the strength and invention of the band in songwriting and sound impressively.

From that mighty proposition the releaser grows another level with Porcelain, its gentle initial coaxing where again melodies seduce and intrigue with their emotive hues, leading into a tempestuous storm of heavily descending rhythms and abrasing riffs. An additional squall of anger to that offered by Owen makes an imposing and pleasing pressure whilst the song almost flirts with the antagonism that rages with every beat and chord. As in its predecessor though, in the wall of confrontation there is elegant veining which is as dramatic in its evocative presence as the brawling endeavours surrounding its beauty. The track is outstanding, easily the best on the release and another potent reason why From Her Eyes is being touted as a big event waiting to happen.

The next up Disillusionist is a rawer abrasion than the previous tracks, though it too is equipped with intelligent and intricate sonic suasion. It does lack the spark of those earlier songs with its hostile breath overpowering the previously perfect blend of rage and elegance but it still makes for a stirring and riveting incitement to keep the release firmly entrenched in attention and appetite.

Elysium with its post hardcore resonance is a brief respite from the rage of the last song but it too is lacking something to make it spark in the passions. Despite that its masterful sculpting is a draw in its own right to ready ears and emotions for the final evocative tide of the title track. The last song’s first touch is a controlled but turbulent wash of heavy swiping rhythms and vivacious sonic enticing which swiftly enslaves the senses before its finds a sturdier antipathy. It is a powerful and robust finale infused with the richly appealing melodic lacing and sonic colouring which sets the band apart from the majority of the metalcore crowd, though still not quite enough for the band to find its own distinct corner. The song also features Lucas Woodland, the vocalist from Falling With Style. His presence and excellent clean tones highlights the only wish to be had with the EP, a bolder variety to the vocals. Owen is impressive but as with seemingly the majority of metalcore seeded bands there is an aversion to temper or fuse the raging single minded roars of passion with something openly different. If there is one band which could do it to striking success though, on the evidence of the last song, it is From Her Eyes.

The song is an excellent end to a similarly impressive release. Demons will push From Her Eyes into a richer attentive spotlight and the country will embrace their debut with relish, that is surely a given so now it is up to the band to take it to the next highly anticipated level.

The Demons EP is available now @ https://fromhereyes.bandcamp.com/

https://www.facebook.com/FromHerEyesOfficial

8.5/10

RingMaster 26/08/2014

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FROM HER EYES offer their ‘Demons’, on 25th August‏

From Her Eyes Online Promo Shot

FROM HER EYES HAVE THEIR EXPLOSIVE DEBUT EP NATIONALLY RELEASED!

Up-and-comers ‘From Her Eyes’ are poised for a brisk climb with the national release of their rousing debut record ‘Demons’, which hits outlets on Monday 25th August.

Born in 2012 and hailing from Bridgend, Wales, ‘From Her Eyes’ carry the potential to follow in the footsteps of fellow home-towners ‘Funeral For A Friend’ and ‘Bullet For My Valentine’. Consisting of old school friends Tom Owen (Vocals), James Kearle (Guitar), Jesse Simmonds (Bass) and Gary Holley (Drums), the metalcore quartet have a formidable and mature sound that certainly defies the fact that they are all just out of their late teens.

By drawing power from the Architects, While She Sleeps, Devil Sold His Soul and post-rock heroes, Touche Amore, the band has cultivated a sound that is direct, hard-hitting, and all consuming.

Despite their lean years, the band have been actively hitting the road since the end of 2012, and during this time have chalked up a plethora of fiery live shows, including igniting stages whilst supporting the likes of With One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break and Reaper in Sicily. After winning souls with their live set, the post-hardcore seeded band soon turned their attention to their first record, and earlier this year bunkered down at Bandit Studios with Jonny Renshaw (Devil Sold His Soul) to record their forthcoming new EP ‘Demons’; the resulting fury nothing short of breathtaking.

‘Demons’ starts off with the hypnotic and atmospheric ‘Decay’, which lulls you into a faux state of calm before the monstrous ‘Comatose’ hits you right between the eyes. The juggernaut groove of ‘Porcelain’ also works its way into your grey matter with devastating conviction, while the fantastically frantic ‘Disillusionist’ further displays the band’s arsenal of hefty riffs at their disposal. The haunting ‘Elsyuim’ is next and it highlights the combo’s impressive maturity and guile. Finally, the EP’s namesake ‘Demons’ completes the record, crowning a striking piece of work that proves the rising riff tyrants are ripe for national recognition.

From Her Eyes Cover Artwork

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